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Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for...

Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.